|
|
|
Musicbox: Of hits and misses
The journey to the Arabian Sea Country Club is not an easy one. Travelling over miles and endless miles of dark, bumpy roads with neither street lamps nor moon light to guide the way, it is an ordeal lasting well over 75 minutes for any city dweller, at the conclusion of which, one stumbles out of one’s vehicle with rackety bones and at least a few sleeping limbs.
On this fateful Saturday night, one arrived at the Heatwave ’06 to the sounds of Aaroh crooning a live rendition of Sawaal. It was over an hour past the assigned time and the hosts were still missing. Looking around, one observed that the crowd didn’t appear to be one expected of a Rs750 entrance ticket. Seated amidst a host of cat calls and cigarette smoke, the experience was quickly turning into a nightmare. An anonymous choreographer rehearsed with a troupe of dancers on stage, amplifying the irritating silence, while some miscellaneous performers stared dumbly around, painting an unflattering picture.
A few random musicians started testing their instruments, and having nothing better to do, one started taking in the details of the stage: a simulation of a palace entrance in hues of orange and gold, filigreed with downy curtains and Chinese lamps. Atif Aslam suddenly appeared on stage unannounced and abruptly began performing Rangon Mein, garnering lukewarm response from the audience.
Before long, all dispersed off stage pretty much as incomprehensibly as they had appeared, leaving the sets predictably deserted. Disturbingly enough though, the lights went off as well, flooding everything in darkness, and a blaring Kabhi Aar Kabhi Paar remix was put on to ‘entertain’ the audiences.
One observed a group of security boys patrolling the front rows, pretending to look all-important, bullying any one who complained that their view was being blocked by their presence. Presently, Anoushey announced a “delay in beginning” and urged people to keep themselves busy with refreshments.
Finally at 11.15pm, a host of Paaras group dancers rearranged themselves on stage to perform a disjointed Teri Mehfil Mein Qismat Aazma Ke. The act was followed by Anoushey and Viqar Ali Khan, the hosts for the evening, who now “opened” the evening with promises of a “wonderful show ahead.”
With the announcement of Aaroh’s arrival, the crowd cheered up a bit and Farooq set the ball rolling with Yaara followed by Mahi Yadh Gharodi from their upcoming album. Thankfully, with his charged performance and some nifty electronic guitar support, the audience quickly found themselves getting into the swing of things. A live rendition of Na Kaho followed, wooing the crowds effectively, concluded by Pyar Ka Jaal.
Atif Aslam surfaced next accompanied by heightened uncertainty among the crowd, but Dilhaare erased any qualms, while Jaagay Hain received a flattering response. It was all downhill for Atif now, singing hit after hit, wooing the crowds effortlessly as he went: Rangon Mein was followed by Aadat and Lamhay, dramatically improvised to support live delivery. He concluded, lip-syncing to the Indian version of Lamhay.
Ali Zafar’s gig kicked off with an energetic Chal Dil Mere and then Rangeen accompanied by a couple of Paaras groupies rendering an unsynchronized jig in the background. Stage fireworks were turned on for added effect. In between his songs, Ali held interactive sessions with the crowd, dancing in turn with the ladies and wittily putting down any overexcited, sleazy, topless male elements while at it. He sang Hookah Paani and wrapped up with a remixed version of Channo. An act well done, Ali proved he has what it takes to control a mob going haywire. But he needs to work on live delivery rather than lip-syncing perpetually.
What followed after was perhaps the only real highlight of the show, besides Ali Azmat — gorgeous fireworks that lit up the night sky in thousands of colourful blazing dapples for a good nine minutes – effectively mesmerizing all present speechless.
As Anoushey announced the final act for the evening, excitement rippled through the masses and Ali Azmat quietly made his way on to the stage with his guitar. He began with Yaaro – sans all musicians — to the sole strum of his acoustic guitar, and followed up with Puppoo Yar and a spellbinding rendition of Taara Jala, maintaining his unfathomable stage presence.
The saddest bit, however, was yet to come: a number of audience members decided to get sadistic kicks out of testing his composure. What followed was a torrent of plastic bottles and paper bags flying through the air, landing disgracefully on stage, apparently aimed at Ali but thankfully controlled by the security. The behaviour was shameful by any standards: a blatant proof of the abuse of entrance tickets. But Ali didn’t waver, delivering Na Re Na with unshakable dignity and concluding with Garaj Baras.
Thrown in between the singers’ appearances were miscellaneous dance renditions by the Paaras group including an amateur Rajasthani belly-dance.
Kudos must go to Anoushey and Viqar for holding their grounds very effectively in the face of such a haywire setup and disgruntled elements; and to the artistes, particularly Ali Zafar for handling the crowds with his charming intelligence and Ali Azmat for bearing with the senseless under appreciation while delivering a performance par excellence.
An event lasting just above three hours, it ought to have concluded well before midnight, but due to the “slight delays” at take off, the show concluded at 3.30am. It’s about time the organisers received lessons in organising events. — Mehreen F. Ali
|
|
|
|
